“Each of these mechanisms has been affected by changes over time.
Precipitation has gradually declined over the last 10,000 years, as the climate has warmed. The short-term wet-drought cycles that are inherent in the system make it difficult to quantify the amount of drought directly attributable to human activity. However, the growing evidence seems to indicate that most of present day warming is man-made.”
Connolly Miskwish, Michael. Watersheds of the Southern Coast. Briefing Paper. 2009 California Tribal Water Summit. 2009. p. 2-3.
World Resources SIMCenter
“Finally, groundwater storage in the aquifer basins is generally the greatest local controller of water supplies. Rainfall and snow melt provide recharge into the aquifer basins that are followed by the gradual release of stored water over the dryer months of the year. In some areas, the storage in the unconsolidated granites characteristic of the coast ranges can release water at the slow rate of less than one foot per day.”
Connolly Miskwish, Michael. Watersheds of the Southern Coast. Briefing Paper. 2009 California Tribal Water Summit. 2009. p. 2-3.
World Resources SIMCenter
“By patiently observing and experimenting over thousands of years, the Kumeyaay shared the land with the native creatures in a sustainable way, taking only as much of a resource as was needed, leaving some for other animals.”
Connolly Miskwish, Michael, Stan Rodriguez, and Martha Rodriguez. Kumeyaay Heritage and Conservation (HC) Project Learning Landscapes Educational Curriculum. p. 48. Laguna Resource Services, INC., Kumeyaay Diegueño Land Conservancy, U.S. Fish and Wildlife Service. August 1, 2016. Accessed July 2020.
California Department of Parks and Recreation
“. . . old claw-scratchings of cave bears, floors of bear-wallows & slides; the human finger-tracings in clay, early scribblings, scratched-in lines and sketchy little engravings of half-done creatures or just abstract signs, lines crossed over lines, images over images; out of this ancient swirl of graffiti rise up the exquisite figures of animals. . .”
Snyder, Gary. "Entering the Fiftieth Millennium." Profession, 1997, 39. Accessed August 24, 2021.
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““One bird before dawn sings two-note song over and over, rising
and falling, rising and falling, then stops.
The one lens fogged permanently, the world reduced to shapes,
masses, lacks a hard edge.”
Silliman, Ron. "Ⓡ." Conjunctions, no. 21 (1993): 170.
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“One bird before dawn sings two-note song over and over, rising
and falling, rising and falling, then stops.
The one lens fogged permanently, the world reduced to shapes,
masses, lacks a hard edge.”
Silliman, Ron. "Ⓡ." Conjunctions, no. 21 (1993): 170.
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JSTOR
‘’Don't weep for me, Union Carbide. Odds, but the d is silent. In the kitchen, the lights out, before dawn: out the window, over the roof tops, the faintest glow gives the sky shape. Most faint. Moist font.”
Silliman, Ron. "From "OZ"." Conjunctions, no. 9 (1986): 31-39. Accessed May 25, 2021. p. 38.
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JSTOR
“19. Because I print this, I go slower. Imagine layers of air over the planet. One closer to the center of gravity moves faster, while the one above it tends to drag. The lower one is thought, the planet itself the object of the thought. But from space what is seen is what filters through the slower outer air of representation.”
Silliman, Ron. "From the Chinese Notebook." Boundary 2 5, no. 2 (1977): 539-51. Accessed May 27, 2021. doi:10.2307/302211.
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“...Old river.
Clang-clang.
The sky turning blacker.
than flesh.
The atmosphere hectic.
Paved over.
The light drawing back
from us others.
4.
He dreams of flowers,
foliage that holds his soul
like crystal,
sparkling,
& walking from a turquoise house…”
Rothenberg, Jerome. "The Lorca Variations: 'Lunar Grapefruits'." Conjunctions, no. 18 (1992): 201. Accessed May 25, 2021.
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JSTOR
“During the recitation he holds his head close to the aperture and carefully sees to it that no portion of the herbs shall remain unaffected by the breath of his voice. He moves his mouth from one end of the aperture to the other, turns his head, repeating the words over and over again, rubbing them, so to speak, into the substance. When you watch the magician at work and note the meticulous care with which he applies this most effective and most important verbal action to the substance; when afterwards you see how carefully he encloses the charmed herbs in the ritual wrappings prepared, and in a ritual manner— then you realise how serious is the belief that the magic is in the breath and that the breath is the magic. . . .”
Rothenberg, Jerome, and Diane Rothenberg. Symposium of the Whole: A Range of Discourse toward an Ethnopoetics. Berkeley; Los Angeles; London: University of California Press, 1983. p. 448.
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University of California Press
“During the recitation he holds his head close to the aperture and carefully sees to it that no portion of the herbs shall remain unaffected by the breath of his voice. He moves his mouth from one end of the aperture to the other, turns his head, repeating the words over and over again, rubbing them, so to speak, into the substance. When you watch the magician at work and note the meticulous care with which he applies this most effective and most important verbal action to the substance; when afterwards you see how carefully he encloses the charmed herbs in the ritual wrappings prepared, and in a ritual manner— then you realise how serious is the belief that the magic is in the breath and that the breath is the magic. . . .”
Rothenberg, Jerome, and Diane Rothenberg. Symposium of the Whole: A Range of Discourse toward an Ethnopoetics. Berkeley; Los Angeles; London: University of California Press, 1983. p. 109.
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University of California Press
“It is hard to find rational arguments to explain Max’s underlying stylistic tendencies toward black and white over color, blank pages over forms, and plasticity over hierarchal structures. Max isn’t about computer science but about computer music. Although many computer science results make their way into Max’s design, that design doesn’t bow to the computer science orthodoxy and its rigid dogma about software design and implementation.”
Puckette, Miller. "Max at Seventeen." Computer Music Journal 26, no. 4 (2002): p.17. doi:10.1162/014892602320991356.
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MIT
“It is hard to find rational arguments to explain Max’s underlying stylistic tendencies toward black and white over color, blank pages over forms, and plasticity over hierarchal structures. Max isn’t about computer science but about computer music.”
Puckette, Miller. "Max at Seventeen." Computer Music Journal 26, no. 4 (2002): p.16. doi:10.1162/014892602320991356.
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MIT
"In those days, what you could hear in terms of the natural world was just amazing: very, very
dense sound that varied according to the time of day or night, because the lowland of Houston was a natural habitat filled with numerous varieties of insects and birds. The sounds are still present in a few places that are not paved over. But the natural sound is diminishing and masked by technological noise. The asphalt and cement have covered over so much of it. The frogs, for example, have just about disappeared in the inner city in Houston.”
Oliveros, Pauline. "My "American Music": Soundscape, Politics, Technology, Community." American Music 25, no. 4 (Winter, 2007): 390-91. doi:10.2307/40071676.
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